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This page intentionally left blank Analyzing Schubert When Schubert’s contemporary reviewers first heard his modula- tions, they famously claimed that they were excessive, odd, and unplanned. This book argues that these claims have haunted the analysisofSchubert’sharmony eversince, outliningwhy Schubert’s musicoccupiesacuriouslymarginalpositioninthehistoryofmusic theory.AnalyzingSchuberttraceshowcritics,analysts,andhistorians fromtheearlynineteenthcenturytothepresentdayhavepreserved cherishednarrativesofwandering,alienation,memory,andtranceby emphasizingthemysticalratherthanthelogicalqualityofthecom- poser’sharmony.Thisstudyproposesanewmethodforanalyzingthe harmonyofSchubert’sworks.Ratherthanpursuinganapproachthat casts Schubert’s famous harmonic moves as digressions from the norms of canonical theoretical paradigms, Suzannah Clark explores howtheharmonicfingerprintsinSchubert’ssongsandinstrumental sonataformschallengepedigreedhabitsofthoughtaboutwhatcon- stitutesatheoryoftonalandformalorder. suzannah clark isGardnerCowlesAssociateProfessorofMusic at Harvard University. In addition to her work on Schubert, her researchinterestsrangefrom medievalFrench motets tothehistory of music theory from Rameau to Schenker. She is the co-editor of CitationandAuthorityinMedievalandRenaissanceMusicalCulture: Learning from the Learned, with Elizabeth Eva Leach, and Music Theory and Natural Order from the Renaissance to the Early TwentiethCentury,withAlexanderRehding. Analyzing Schubert suzannah clark CAMBRIDGE UNIVERSITY PRESS Cambridge,NewYork,Melbourne,Madrid,CapeTown, Singapore,Sa˜oPaulo,Delhi,Tokyo,MexicoCity CambridgeUniversityPress TheEdinburghBuilding,CambridgeCB28RU,UK PublishedintheUnitedStatesofAmericabyCambridgeUniversityPress,NewYork www.cambridge.org Informationonthistitle:www.cambridge.org/9780521848671 ©SuzannahClark2011 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2011 PrintedintheUnitedKingdomattheUniversityPress,Cambridge AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloginginPublicationdata Clark,Suzannah,1969– AnalyzingSchubert/SuzannahClark. p. cm. Includesbibliographicalreferencesandindex. ISBN978-0-521-84867-1 1. Schubert,Franz,1797–1828–Criticismandinterpretation. I. Title. ML410.S3C43 2011 780.92–dc22 2011007625 ISBN978-0-521-84867-1Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceor accuracyofURLsforexternalorthird-partyinternetwebsitesreferredto inthispublication,anddoesnotguaranteethatanycontentonsuch websitesis,orwillremain,accurateorappropriate. To my sisters: Sandra and Sally Contents Acknowledgements [pageviii] Introduction [1] 1 SingingSchubert’spraises:thevoiceofVoglinSchubert’s earlyhistory [6] 2 “Awordwilloftendoit”:harmonicadventureinSchubert’s songs [56] 3 Musictheoryandthemusicologicalimagination: perceptionsofSchubert’ssonataform [146] 4 Analyzingmusictheory:aSchubertiancritique [204] Epilogue [268] Bibliography [272] Index [284] vii Acknowledgements AsSirGeorgeGrovewasnearingthecompletionofhisarticleonSchubert for the dictionary that would bear his name, he wrote to a friend that he fearedhewoulddeeplymissSchubert,whohadbeenhis“companion”for solong.Incompletingthisbook,IhavesomesympathyforGrove’ssenti- ment. Yet writing these acknowledgements brings to the fore all the col- leagues and friends that I have been lucky enough to have as real companionsduringthewritingofthisbook. The ideas for this volume first took shape while I was at Oxford. My thanksgo,asalways,toEmanueleSeniciandIamsogladthatourtimesat Oxfordcoincided.Inparticular,Ioweanenormousdebtofgratitudetomy colleague at Merton College, Edward Olleson, whose formidable musical knowledgesharpenedmyearstonumerousniftyharmonicpassagesfrom Haydn to Brahms. I am gratefulto Susan Wollenberg,who invited me to teachajointcourseonSchubert’sinstrumentalmusic,whereIplayedout someoftheideasinthisbookandreceivedvaluableresponsesfromSusan andthestudents.Ialsogainedmuchjoyovertheyearsfromthetriumphs ofeachofmytutorialstudentsinMertonandUniv.IamgratefultoEric Clarkeforsomeimportantconversationsaboutlifeandmusicanalysis,as wellasforanimateddebatesoveranalyticalquagmireswithJonathanCross andLawrenceDreyfus. I consider myself extremely fortunate to have had Simon Jones as my colleagueinmatterspertainingtotheMertonCollegeChoir.Iamgrateful tothechefatMerton,MikeWente,andtothekitchenstaffandbutlersfor servingsuchsuperbmealswithsuchincredibleimagination.Icannotbegin to count (though Oxford keeps impeccable records on such matters) the number of meals I ate with colleagues over the years atMerton, but I am especially grateful to the Warden and Fellows for bringing a sense of humor, wit, friendship, and deep intellectual exchange to them all. For morningcoffeesandconversations,IrecallwithfondnessRichardMcCabe, Vijay Joshi (who also kindly gave me a huge collection of scores), the college librarian Julia Walworth, and the emeritus Fellows Michael Dunnill and Roger Highfield. In fact, coffee with them was such a staple viii
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